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DRAMA 



CONRAD 



THE HAND OF A FRIEND 




" 



CHICAGO 

THE DRAMATIC PUBLISHING COMPANY;, 



CONRAD 



OR 



THE HAND OF A FRIEND 



DRAMA IN THREE ACTS 



A 



FRANK DUMONT 



A 



ECEIVED 



CHICAGO 
THE DRAMATIC PUBLISHING COMPANY 




CHARACTERS. 

Conrad. 

Philip Lawton. 

Amos Leach— A rascally attorney. 

Tobias Pecksniff— His clerk. 

Frank Remington— A young physician. 

Warren Duncan— A banker. 

Roger Blackburn— An escaped convict. 

Sing Lung— A Mongolian importation. 

Steve' ( Meml3ers of an outlaw league. 
Amelia Brannigan— From the " ould sod." 
Elsie Duncan— The banker's only child. 
Child— Little Elsie. 
Road agents, vigilants, police officers, etc. 



Plays two and one-half hours. 
Copyright, 1897, by the Dramatic Publishing Company, Chicago. 

Notice. — The professional acting rights of this play are reserved by 
the publishers, from whom written permission must be obtained before 
performance. All persons giving unauthorized productions will be 
prosecuted to the full extent of the law. This notice does not apply to 
amateurs, who may perform the play without permission. 

COSTUMES. 

ACT I. Characters attired in modern dresses. Pecksniff 
ragged, but with umbrella. Blackburn in convict's dress of 
striped material. Second dress, black suit. 

ACT II. Characters attired in rough garments of the mining 
class, woolen shirts — red or blue. Rough jackets, boots and 
dark pants. Elsie in plain dress of dark material. Sing Lung 
in the blue garments worn by Chinese immigrants. 

Act III. Characters attired same as Act II. Tattered coat 
and hat for Conrad placed upon bales in Scene II. 

PROPERTIES. 

Act I. Valise, broom, whip, pitch-fork Tray with tea service, cab- 
bage. 
Act II. Clothes-pins, axe, coffee-mill, basket Pistols, gun, squirrel. 
Act III. Kettle, barrels and bales. Legal papers, 



TMP96-007217 



CONRAD. 



ACT I.— CONRAD EXTENDS HIS HAND. 

[Scene : — Mansion and lawn. Country mansion, R. 2 E. 
with verandah. Flowers and vines Arbor, L. 2 E. Rustic 
settee, L. C. White picket fence crosses stage with gate, c. 
Barn, L. u. E.with upper portion to view of audience. River 
landscape at back. Sunset. Music, plaintive. Lawton, 
with valise, as if just arrived from depot, followed by Amos 
Leach, enters down C. at rise of curtain.} 

Lawton. This is Warren Duncan's home, and as no one is 
observing us, take a rapid survey of the estate, your practised 
eye can estimate its value at a glance. When Duncan was in 
straitened circumstances I loaned him a large sum of money 
— but I never expected to receive it back again. 

Leach. Never expected your money ? Oh ! vot a remark- 
able man ! 

Lawton. I wanted to secure a grasp upon this haughty 
banker — and I succeeded. You now understand why you are 
here to attach this homestead. He cannot meet the mortgage, 
and there is but one thing that will stay my hand. That is, 
his daughter Elsie's promise to become my wife if I spare her 
father. 

Leach. Spare nothing. Don't be so tender-hearted. Oh, 
my dear, if you were a lawyer you'd soon be cured of pity and 
of telling the truth. I don't remember when I ever told the 
truth. Well ! I came here to collect the mortgage money or 
attach the property — so let's to business — my deputy, Tobias 
Pecksniff, is hiding behind the barn. [Amelia enters from 
mansion.] 

Amelia. {Looks at lawyer.} Oh, look at the nose of him ; 
it looks like a meerschaum pipe. 

Lawton. Is your master at home ? 

5 



6 CONRAD. 

Amelia. [Curtseys.] Faith, he isn't, sir. He hasn't come 
up from the daypo yet. 

Leach. Never say daypo — say deepo ! 

Amelia. Is that so ? I knew you'd be poking your nose 
into something that didn't concern you. That bugle you have 
there on your face would make a fine deepo — and hold a daypo 
on the top of it. [To Lawton.] But give me your valise, sir, 
and just step into the library for a moment. Mr, Duncan will 
soon be home. You can leave Mr. Deepo out in the barn with 
the rest of the cattle. [Takes valise, etc., from Lawton and 
enters mansion, laughing at Leach. Lawton follows her in. 
Leach angry and scolding, enters after them. Enter Frank 
Remington and Elsie through gate.] 

Elsie. [C] Tell me the cause of this silence. This sadness. 

Frank. Elsie ? Heaven forbid that my words should cause 
you to suffer a single pang. I must speak, it is my duty. Yet 
the words may separate us forever. 

Elsie. Separate us, Frank ? 

Frank. Elsie ! I am penniless to-day. Our banking firm 
was tottering, and a speculation involving great risks has sud. 
denly, like an air bubble, blown to the winds our hopes — plans 
— all — all fallen mid the ruins. A kingdom, were it mine, 
should have been laid at your leet. You cannot be a poor 
man's wife, and I must begin the world anew. Naught is left 
me but my strength and honor. And now 

Elsie. And now what ? 

Frank. Your promises were made under different circum- 
stances. I feel the power of gold. Without it, we are almost 
nothing. 

Elsie. There is one thing that the gold of two worlds cannot 
purchase, — true love and a loyal heart, which in affluence or 
adversity — never changes. 

Frank. It is a priceless treasure I admit. You are a noble 
girl — but now that I am ruined, why should I drag you down 
with me ? [Elsie takes his hand.] 

Elsie. Did you think that my love could change so easily ? 
That gold could tempt it ? I can love but once. [Lawton ap- 
pears on portico ; pauses to listen and observe.] 

Frank. Your words inspire me with new life ? I will toil 
to recover part of my loss. With your sweet face to cheer me, 
I am bound to succeed ! Your father has not yet returned from 
the city ? 

Elsie. No, but I expect him ©very moment. Conrad has 
gone as usual to the station, to wait his arrival. 



I ONRAD. 7 

Frank. What a faithful fellow he is. Rain or shine, he is 
ever awaiting your father's return. I dare say you would miss 
him should he resign his position. 

Elsie. Who ? Conrad ? Indeed I would. You forget how 
he saved me from a watery grave — nobly plunging into the 
river — never thinking of his own danger. We will never part 
with Conrad. 

Frank. He is quite a comical personage also — and his 
broken English adds to his humor. He is certainly an odd 
personage — but I was about to say that I saw Mr. Lawton in 
the vicinity. 

Elsie. Strange that even that man's name sounds un- 
pleasant to me. I dread him without knowing why. I feel 
that his presence is a foreboding of evil. [Lawton comes down 
as she concludes, she starts as he bows and speaks.'] 

Lawton. Good evening, Miss Duncan. Same to you, Mr. 
Remington. I trust that I have not disturbed you by an intru- 
sion that is purely accidental. 

Frank. Not at all, sir ? 

Lawton. I am waiting Mr. Duncan's return from the city, it 
was so lonesome in the library and hearing voices I strolled out, 
little dreaming I should interrupt you, for which offence I crave 
a thousand pardons. [Amos Leach is about to join the group, 
but Lawton motions him to return back into house.] 

Frank. You are freely forgiven sir. You will find much to 
enjoy in the sunset. The flowers and the beautiful landscape. 
Come, Elsie. [Offers arm to her.] Good evening, sir ? 
[They ex. L. I e.] 

Lawton. [Gazing after them.] Make good use of your 
time, Mr. Remington, for that time is very short indeed. Elsie 
will be mine within a few weeks, and your presence will not be 
needed. It may be well to keep them both in sight, and also 
view the estate my beautiful bride brings to me. It is a pity to 
separate them, a real downright pity. [Laughs as he ex. 
l. i e. Enter Leach from house, followed by Amelia with a 
broom as if she was " sweeping him " out.] 

Amelia. There now — the dirt before the broom. 

Leach. My dear young woman, you don't seem to know 
you're insulting me. 

Amelia. Don't I ? I'm not insulting anybody when I insult 
you. You're nothing. 

Leach. My dear young lady, I'm a lawyer. 

Amelia. I know you are a liar. 

L§ach. A lawyer. And I command r«p«et. Do you know 



8 CONRAD. 

that you're rather a pretty girl. I'm a good judge of female 
beauty. Is Mr. Duncan a rich man ? 

Amelia. Maybe he is — and maybe he isn't. 

Leach. Do you always have charge of the library ? 

Amelia. Maybe I have — and maybe I haven't. 

Leach. You know that Mr. Duncan has valuable things in 
his library. 

Amelia. Maybe they are — and maybe they aren't. 

Leach. I need just a little bit of information. 

Amelia. Maybe you'll get it — and maybe you won't. 

Leach. Are you the only servant here ? 

Amelia. Maybe I am — and may be I ain't. 

Leach. Well I must say you're a tough witness — you can't 
talk worth a cent. 

Amelia. Can't talk is it ? I'd talk you deaf, dumb and blind 
if I thought it was worth my while, but you've struck the wrong 
person to get any information from — now take a walk. Skip 
the gutter — and walk off wid yourself or I'll sweep you into the 
ash barrel. Go on, now — don't talk back. Home rule forever 
for old Ireland, hurroo ! [She sweeps him before her — raising 
a cloud of dust that makes him sneeze and cough as he vainly 
tries to "talk back" to her, crying "listen to me, young 
woman " and she replies " move on — move on I've got one of 
Pamell's brooms and it sweeps dudes and everything English 
into the ash barrel." Bus. ad lib as she talks and drives him 
off~L. U. E. and stands at gate C. ordering him to " move along 
and take his feet with him." Lawton enters L. i E., gazing off 
L. Amelia sees him.] There's the other one — I'll lock up the 
library, for I wouldn't trust him with a red hot stove. [She 
enters house.'] 

Lawton. To hear their words of love drives me frantic, but 
I must control myself — at least until I am quite sure that I am 
master here. [Sits on bench.] Then I can look forward to a 
new life — my past one is a secret known to me alone — but con- 
science makes cowards of us all — at times. Conscience, guilty 
conscience. [Music tremolo and hurry. Roger Blackburn 
an escafed convict — tattered and pale — hastily enters from 
R. U. 3. Looks about for a place of concealment and then 
coming towards Lawton — their eyes meet. Chord.] 

Blackburn. Philip Lawton ! 

Lawton. Who are you that dares to intrude upon these 
grounds ? 

Blackburn. I am an escaped convict — officers are on my track 
— I have eludtd them for the present. You must conceal me. 



CONRAD. 9 

Lawton. Leave at once or I will hand you over to your 
pursuers. , c . 

Blackburn. Not a word— If you value your own safety you 
will shield me. Ten years ago, a skilful forgery was accom- 
plished in the Banking House of Remington and Company. 
Three clerks were in the plot. One was murdered to hide 
traces of the crime. The two others separated. The arch vil- 
lain secured the lion's share of the plunder and is rich and 

^Lawton. What has this to do with me? Begone, jail 

'Biackburn. Gaze upon these features. Deny me if you can, 
for I was one of your partners in the crime. 
Lawtoil. Roger Blackburn ! Not dead ! 
Blackburn. I have been dead-but I breathe the air of free- 
dom . I will not suffer alone— I have found you, never to lose 

y °Lawton. Go— go— you must not be seen here with me. 

Blackburn. Conceal me and I will remain silent. Refuse, 
and vou'll share a felon's cell with me. 

Lawton Quick ! Conceal yourself behind the mansion ! my 
valise contains a change of clothing and I will get it for you. 
Make haste, man, or you will be seen. [i^.-Blackburn ^ 
to ex R. 2 E. and Amelia is entering with tray of dishes R. 2 
E She screams and drops the tray. Blackburn ex. R. 2 E. 
Lawton comes C] *Sh, do not speak a word of this to a living 
soul Take this to buy some pretty ribbons. [Gives money.] 

Amelia. Faith 1 can't say a word for I'm as dumb as an 
oyster with the lock jaw. [Picks up fragments. Several offi- 
cers appear at gate from R. U. c] 

Officer. [At gate. \ We are after a desperate character— an 
escaped convict. Have you seen any one ? 
" Amelia [Aside.] That's the gentleman with the zebra pants. 
Lawton. [To officer.] I have seen no such person in the 

^ Amelia. We'll all be kilt in our beds by the burglars and the 
highway men. [Officers ex. l. u. e.] 

Lawton. You will say nothing of this to any one -not even 
to your master. Give my valise to that gentleman. He is be- 
hind the mansion. Not a word— to anybody 

Amelia N o sir— not a word— [Aside.] I'll only tell Conrad 
_-H<?s the boy that will look after the burglar. Oh. how sweet 
that name is to me ! Begorra I'm thinking I'm getting to be in 
love with hfmloh ! that I should fall in love with a Dutchman 



10 CONRAD. 

and have a lot of little Dutch children all crying for sour 
krout ! [Enters mansion. Bus, Tobias Pecksniff appears at 
gate.] 

Tobias. [Looking L. u. e.] Oh ! Police officers — they send 
a cold chill down my back. I was in the barn sucking eggs — 
and just as I had lound a ripe one, I saw the officers and it took 
away my appetite — for a moment only for now it's come back 
again and I'm as ravenous as I ever was. I smell something 
cooking ? [Lawton who has been watching off R. 2 E. now 
turns and sees Pecksniff.] 

Lawton. You rascal ! What are you doing here ? 

Tobias. {Dramatically.} Hunger drove the wolf out of his 
den. 

Lawton. Were you not instructed to keep secluded ! 

Tobias. Don't sling compound words at me. I can't stand 
high Mown language on an empty stomach ? If I don't find 
something to allay my hunger, I'll die of premature indigestion. 

Lawton. Here ? take this and be off, keep at a respectful 
distance from these grounds. [Throws coin to Tobias.] 

Tobias. [Bites coin.] Here ! none o' that ! no playing pew- 
ter and lead on an old timer. 

Lawton. Leave ! or I'll accelerate your movements. 

Tobias. All right. [Goes towards mansion.] Ah ! what 
do I smell ? A kitchen ! Great New Haven ! Can I believe 
my eyes ? Here is the place where the hungry can find nourish- 
ment. [Stoops doxun and produces a huge vegetable from part 
of the mansion, supposed to be a kitchen window. He eats 
voraciously — while poking into the windotv with his umbrella 
to obtain more.] 

Lawton. [Ftcriously.] What are you doing ? 

Tobias. [Choking.] Don't speak to me now, I'm too busy ! 
Oh ! None but w r ealthy people enjoy luxuries. [Holds up cab- 
bage.] The first strawberries of the season. [Ex. L. u. E. as 
he sees Lawton coming towards him. Music. Enter Warren 
Dnncan I E. L., seats himself near arbor.] 

Duncan. Another day and still no gleam of hope. If Law- 
ton refuses an extension of time I am lost. That Mansion, 
which I reared will pass from my hands and my beautiful child 
will be homeless. 

Lawton. [Sees and comes to Duncan.] Good evening, sir ! 
Having but a few moments to spare I may as "well begin and 
make known the pressing business that brings me here to-day— 

Duncan. I know full well your errand — but I am sorry to 
say I am unablt to satisfy your claims at pr«»tnt. 



CONRAD. I I 

LawtOll. My partner is a very strict man and I fear that he 
will act hastily — for he holds the mortgage. 

Duncan. It was unkind to transfer the papers into other 
hands. 

Lawton. I was in need of ready cash and was forced to do 
so — I have tried to reason with Mr. Leach, but it is useless. 

Duncan. Then, sir, I am ruined and homeless. 

Lawton. This is your hour of need and I believe I can assist 
you. I have loved your pretty daughter long and well 

Duncan. Stop sir. Do you wish me to force my child into 
an odious marriage ? Do you wish me to sacrifice my child 
for my faults and follies ? No sir, a thousand times, No ! 

Lawton. You could prevail upon her 

Duncan. Not another word on that subject ! 

Lawton. Hem ! You forget the many iavors I have shown 
you ! 

Duncan. I never intended to purchase your favors so 
dearly ! [Crosses R.] 

Lawton. You have thrown away the chances I offered you ! 
Everything will be sold without mercy ! [Crosses.] 

Duncan. Do your worst, false friend ! Forewarned is fore- 
armed, and I see you now in your true colors. [Enters man- 
sion. As Lawton gazes after Duncan, Tobias Pecksniff ap- 
pears at gate.] 

Tobias. How much longer am I to starve ? 

Lawton. You ragged ruffian, begone ! instantly ! 

Tobias. Is there any strawberries left ? 

Lawton. Leave this spot instantly ! 

Tobias. Let me have one peek into the kitchen, one little 
smell of the vittles ! 

Lawton. f Turning.] What ! not gone ! 

Tobias. Yes — clean gone — here. [Shows vest and ex. 

L. U. E.] 

Lawton. I must see L^ach at once and bid him lose no 
time, by thus making a show of enforcing my rights, I may 
compel Duncan to accede to my wishes. It will not do to be 
chicken-hearted in this case. [Crosses R. Tobias appears 
at gate with a live hen or rooster, holding it by the legs.] 

Tobias. Here's a chicken for you ! 

Lawton. Where did you obtain it ? 

Tobias. Out of the coop — nobody was looking so I col. 
lared the chicken. I'm not going to starve in this glorious 
land of plenty ! Oh ! Chicken fricassee ! Yum ! Yum ! 
Yum ! 



12 CONRAD. 



this^y*' ^^ thiS Place "^tantly-see, the lady returns 
Tobias. I guess I'll have the chicken broiled ■ 
Lawtpn. Will you go ? You impudent villain i Stav 

y SrSJ, T rough the gatewa y- she wi11 se « ™*: y ~ 

a .»* s a s* v^v h ss™ d i l r giveyou 

*1£Z g o- SiJs ~ ^ ™ ^oT s/rom R - " E - 

.uawton. Une moment Miss nnnMn i v l 
noticed that your ^Ts^^ZlTl tZZrtS*^ 
A calamity ,s impending which you are able to aver? ri 
her way towards the house. .] a Crt ' ^™ 

Elsie. I do not understand you, sir ! 

lawton. This homestead is mort^ajred and is a hn..i t^ „„ 
into the hands of strangers. Your ffthf r id not w£h to reveal 
the secret himself and requested me to do so He is uTeHv 
broken down by this unfortunate transaction. [T obi aS a^Tarl 
«* *. i E. out Lawton manages to signal to /,/,„ /„ -**■ 
Tobias bows politely and ex. tain ] El sie \LZ tn Li"' 

Tobias. Who said something- about a st^L- l tmi u 
welUone with p.enty *„.„.« p^^^TtE 

an^efcant $&J "«£££ * « U * reVe ' a,i °"' »" d "' 

or, I— Think of your father - P betvveen us - 

sacrifice for 7 ^ 111 ^^ 11 ^ nCVer ask his chiId t0 m ^ke such a 
sacrifice— for it would be one in every sense of the word vv 
can share poverty top-ether Vm, „,;ii ,11 " VV c 

To . ' "; y , ^ Y °u will allow me to pass sir 

Lawton. Stay ! If you have Mr. Remington's wlfarTal 

^ee y a „\:'l„Ta,T„ k yVo n m eT my0fme - R <™ " 

JStJSZgZKZ f am l J&T that >™ "» * 

Lawton. Those words from vou ' Thev hum ir,t^ 
like molten lead. [Takes her hind.] Y ^ my S ° Ul 

£1S10. Release me, sir, and allow me to retire. 



CONRAD. 13 

Lawton. Having gone thus far, I cannot retrace my steps 
without the answer I seek ! 

Elsie. Release me, or I will call for assistance. 

Lawton. Silence — make no outcry ! [Music. Hurry. 
Elsie releases her hand and runs down to left corner of stage. 
Lawton follows after her. Duncan appears on portico and 
Leach follows after hitn and prevents him from going to 
Elsie's assistance. Elsie eludes Lawton and runs towards 
gate, uttering a scream. Conrad rushes on from L. U. E. with 
whip, bridle and horse-collar — comes through gate, shields 
Elsie from Lawton — drops articles and deals Lawton a blow 
that sends him reeling to c. of stage. Picture. Conrad strikes 
several attitudes as Lawton recovers^ 

Conrad. Come on ! Get some more ! The next one I give 
you will flatten you out like a pancake. 

Lawton. You confounded meddling fool ! 

Conrad. I'm smart enough for you, if I am a fool ! 

Lawton. This language, fellow 

Conrad. Is plain and right to the point. 

Lawton. What if I answer it with a blow ? 

Conrad. That suits me — I bet I'll give you a lesson in man- 
ners or make you dance a hornpipe with a whip accompani- 
ment. 

Elsie. Have no words with him, Conrad. 

Leach. [Coming forward.] Do you know that our business 
is with Mr. Duncan, not with the servants ! 

Conrad. Is dot so ? Well I wouldn't know you were round 
here if you hadn't opened your beautiful mouth. 

Leach. We are gentlemen 

Conrad. I'd rather believe it than look for proof. A gentle- 
man always lays violent hands on a lady ! 

Lawton. You'll pay for this 

Conrad. I pay my debts, that's more than you do ! 

Elsie. Conrad ! have no words with them. You see they 
are in ill humor. 

Conrad. Well, I don't feel very well myself. 

Lawton. [To Conrad.] You'll oblige me by retiring — we 
can dispense with you. 

Conrad. I guess we can dispense mit you and dot udder 
freckle-face long-nose bullfrog, too ! 

Amos. Sir ! My name is Amos Leach. 

Conrad. Oh ! Yes, dot's so. You look yust like a leech ! 

Lawton. As 1 said before your presence is not at all needed 
b«re. 



! 4 CONRAD. 

Conrad. Veil, I hafejust made up my mind dot ve rW 
need yours here neider— so just take a walk rk -, 
™hi PA Move now or I'll give U SO m e muJic T'l \Z """ 
vat what kind of a shoe-string I am Tyou onS make rT ^ 
and mad. [Duncan enters from house ^ g °° 

Lawton Mr. Duncan, you shall answer to me for vour ser 
muchiHl enCe - IH h T y° ut0 understand that you are too 
Tsres^cZ P m °r ^ aU0W a SCrVant t0 U " er 0ne "£« 

prc^dbJme 1 M ^ -^ My Servant ' s acti °^ are ap- 
proved by me When a visitor to my house fomets that he i« 

d\i e e nt the m m a o'fr then "* ^ **» ^ » he P^^Con^ 

aw^ t0 v D f° y ° U u kre ° rder y° ur set ™ to drive me 

iJSSL get at my money has aided you in &»™™ 

ha^Tfotn Y T CS ' bUt y ,° U nCVer P urchas ^ my manhood ! You 
vour P T V 0W ?', tle ^ eofba «le and I now defy you to 
your teeth. Conrad ! drive them off. Come, my child - I have 

defense T^t^f ^T'' r , e — X ^anks" for your manj 
mansL™ alf ° f "^ daUgMer - 0>™** andhtoentel 

Conrad. Don't mention it Nnw th^n r„, • , 

you fellers how to dance f dSS Co Slon-S' "?a rtatl n7 
p Lawton.] Now, you git first-when I coun three den 
comes the horse whip ; one-two-two and a half— 
l Lawton. Ill see you again and pay you for this. [Ex 

Conrad. I don't charge you a cent. This is free lunch and a 
chromo goes with it. [Sees Leach.] Ah! There 'But vou 

Leach" M? J£\ th i "*, Get read * t0 wa]k S P a ^ 
iMik Me. sir! I am a lawyer and I dare you to strike me 

I have you up for contempt of court-node* proscess-com 
battibus— oyer and terminer de facto proscess— com- 

,S°^ C , h " S , e "' ' dm ' t car e for your oysters and 

n™ r °^rn ! How d ° y°° *&**> n?«£ 

ouSa SS td fose d ^JS"^ S J?«^ 
^Sal.t'^r.M,^ G ° in ^ t0 *« ™e tiled 'and 



CONRAD. 1$ 

round to kitchen window. Conrad turns and sees 

iim.] Hello ! the woods is full of 'em. I'll fix this rag 

hop. [Takes a hay fork and pokes Pecksniff with it. Peck- 

niff yells and runs off", L. u. E. Bus with pitch-fork ad lib 

in til Pecksniff runs off. Conrad laughs and ex. r. 2 e., trips 

by getting his legs entangled in the dragging pitch-fork ' s 

handle and thinks it is Pecksniff returning. He turns and 

strikes out with whip. Sees no one and ex. laughing R. 2 E. 

Blackburn neatly attired conies from mansion rather cautiously 

and meets Lawton who enters from the arbor L. 2 E.] 

Blackburn. This is a glorious change from the prison life 
of weary years. Free again to mingle with old friends. I'm 
to be congratulated upon this streak of good luck. 

Lawton [aside.] It won't last long, I assure you. 

Blackburn. I see you had an altercation a few moments 
ago and I watched my chances to come out to you. I have not 
had an introduction to the family yet, and you'll have to do the 
honors and explain my presence here. Now, the next thing of 
importance is some cash to play the gentleman. I did not find 
any in the pockets of your clothing. 

Lawton. It will be impossible to advance any. I'm in 
straitened circumstances myself. 

Blackburn. That's a good joke, but it only serves to prove 
the old adage, "111 gotten gains are never prosperous," but I 
must have money — I don't care where you get it. Let me see if I 
remember right. There was a valuable package of documents 
deposited in your care when we were fellow clerks. I received 
my share of the cash but I also claim a share in those docu- 
ments. Where are they ? 

Lawton. In Warren Duncan's safe in that library. He 
found them among my papers which I carelessly left exposed 
in our city office and I could not claim them entirely as they 
were in care of the firm. 

Blackburn. Are you telling me the truth ? 

Lawton. Yes, and to prove it to you I will attempt to 
recover them if you will aid me, and then we'll share and share 
alike. 

Blackburn. I'll do it. First let me walk around in the open 
air, to bring the roses upon my pale cheeks. I can't get too 
much fresh air you know ; I haven't been used to it. The old 
gent has a very pretty daughter — why couldn't I marry into the 
family ? Lucky idea, I'll carry it out if I can. [Ex. L. 1 E 
after bowing to Lawton.] 

Lawton. I'll clip your claws if I ficd them toe sharp to suit 



16 



CONRAD. 



me. Now for the first move, [c] I'll make a friend of thi 
German fellow. I'll buy his friendship— money will do any 
thing. Every man has his price and this German servant ha 
got one also. [Goes up stage and qfh. u. E. Enter Conrad 
and Amelia R. IE.] 

Conrad. I can't help it. If you're always putting your lips 
so closeto me I can't help putting mine so close to yours. 

Amelia. You had no business to kiss me and I think you're 
real— real— mean. [Puts apron to her eyes.} 

Conrad. Oh ! If you're going to cry about it then I'm sorry 
I done it. I'll never do so again. 

Amelia. Did I say you could never try it again ? 

Conrad. No, but I thought you didn't like it ! 

Amelia. Do you know, Conrad, that you're an awful nice 
feller ! 

Conrad. Yes, I know it. I found that out long ago. 

Amelia. Are you of a jealous disposition ! 

Conrad. Yes, I like jelly. If you vas a lump of jelly I could 
eat you mitout a spoon. 

Amelia. I mean are you jealous of me ! If you see me 
talking to anyone do you feel the cold chills running down 
your back ? b 

Conrad. Yaw ! I feel like a lobster mit de lock-jaw. 

Amelia. Conrad, do you know that I— I— kinder like you ' 

Conrad. Veil, I kinder like you pooty veil too, you vas a 
nice little Irish potatoes ! 

Amelia. I'm a potatoe ? 

Conrad. Yes, a sweet potatoe. I could eat a bushel like you . 

Amelia. Conrad, the more I look at you the more I admire 
you. Did you ever feel a pain right here in your heart ! 

Conrad. Yes— I think it was cramps, you better eet some 
liniment. 

Amelia. You're the liniment. [Bell rings.] There I've got 
to go. [Kisses hand to Conrad.] Good bye, my little Dutch 
daisy ! [Ex. R. i.e. Lawton enters from L. U. E.] 

Conrad. So I'm a Dutch daisy, eh ? Veil I'm a lucky feller 

if ' 

Lawton. [Places hand on Conrad.J You are a lucky fellow, 
Conrad ! And you may till be more fortunate if you listen to 
one who wishes to be on friendly terms with you. 

Conrad. There's only one way to be on friendly terms with 
me. That is for you to mind your business and let other peo* 
pies affairs alone. 

Lawton. I don't blame you, my food fellow, for trying to 



CONRAD. 17 

shield those who employ you. But you were mistaken in my in- 
tentions. 

Conrad. You were not mistaken in my intentions, were you ! 

Lawton, Conrad. I must admit you are a very clever 
fellow. 

Conrad. I've got to be pooty clever for some peoples. 

Lawton. You are faithful to your master's interests and I 
am glad to see it. 

Conrad. Yes, you look awful glad — just so glad as if you'd 
lost a leg. You're right when you say I'm clever. You'll find 
me a clever fellow when you least expect that 1 am one. 

Lawton. I am satisfied that you are very clever. Here ! 
There's some pocket money for you. [Hands note to Conrad.] 
That is merely on account. I have a good sum ready to place 
in your hands when we are on better terms of friendship. 

Conrad. [Winks and takes money.] I don't hardly under- 
stand you ! 

Lawton. Serve me as faithfully as you have served Duncan. 
He is ruined financially, and it needs but a final blow to com- 
plete the work I have begun. I need your valuable assistance 
and will pay you well. 

Conrad. You'll pay me to betray the master, who, in pros- 
perity treated me kindly and well ! You'll pay me to become his 
enemy and aid you to crush him ! Let me tell you that poor as 
I am — servant that I am — you haven't got enough money or 
ever will git enough to bribe me. And I warn you never to try 
that game on me again. [Flings money at him.] 

Lawton. [Picks up money.] What ! Do you refuse ! 

Conrad. I not only refuse, but give you a little piece of ad- 
vice with the retusal. If you ever dare to make such a proposal 
to me again I'll give you such a crack with this fist that you'll 
smell brimstone for six years — I tell you ! I mean business when 
I talk that way and I don't " take water " neither ! 

Lawton. You do not understand me 

Conrad. Yes I do — and I hope you understood me too. I 
know your game. You and your rascals may think you will 
succeed in it, but don't be too sure of that. Mr. Duncan is sur- 
rounded by foes, but let them be mighty careful that they don't 
play their cards and find themselves euchered ! 

Lawton. You insolent scoundrel. 

Conrad. Not another word or I'll show you that I'm a pugilis- 
tic "scoundrel" also. The idea of you, you calling any one a 
scoundrel — I can't find any words low, mean, contemptible or 
vile enough to call you or I would 



18 CONRAD. 



Lawton. Enough of this. Be in time advised by me Cros 
my path again at your peril. Duncan is in the meshes,' he can 

Lnd P °o S f S a o y e CSC rT- My hand J S raiSed againSt him and ^s th« 
1W.J r i J l E - J DUnCan a PP ea ^onverandahA 

Duncan. I have overheard all. Conrad, I am sorely in need 01 

your assistance. Give me your hand 

ofa^fefd Iti,^ l**'* * extend jtt ° Y°u. and 'tis the hand 
of a friend. {They enter mansion. Lawton and Blackburn en ter 

V^f^'A^T h i m ' hS WiU P rove an obstacle ^ ™y way. 
But as I said before, I'll need your assistance. We hold a mort- 
gage on everything but the barn, In that house, he keeps the 
papers you spoke of. The mining claims once in our hands 

E* or d S y a fo5:e 0r C ° l0rad ° ^ ^ *« **» ^ ™™' 

Blackburn. Will it require skill to enter the building and 
obtain the packages where he has placed them for safety > 

Lawton. Not at all, I'll risk the safe if you can enter the 
budding. [Conrad appears at door listening \ I must procure 
these papers as they will aid me wonderfully/ Duncan e?pec ts 
financial aid in order to meet his obligations and I wilUhen 
need some greater power to carry my point. The documents 
you spoke of are just the thing needed ! ntS 

Blackburn. If I succeed in obtaining them, or rather if I aid 
you, what figures can you mention. 

Lawton. Five thousand dollars, cash ! and a share in the 



mines 



m^ n [ ? 0ln f u l E I'm your man and the docu- 

ments in Duncan s safe are as good as if they were in your hands ■ 
To work at once. This very night secures them to you. rLaw-' 
ton and Blackburn ex. r. i E . * J L 

Conrad, indoor.] The documents in the safe are not yet 
in your hands, Mr Lawton, and you'll find some trouble in your 
way and you can bet on it. {Closes the door, disappears. Stare 
gradually grows dark. Amelia with platter of dishes cof. 
taming boiled egg-toast; knife, fork and small tea pot, inters 
from rear part of mansion and is about to enter mansion 
when Tobias Pecksniff emerges from behind arbor and quickly 
intercepts her. z -' 

•' Jm f^ aJ b rf Pard ° n ' ,*? iss ' y° u couldn,t tel1 me where I 
:ould find Mr. Duncan, could you ? 

iTol 8 " A Y ^' d r bettC , r g ° and l00k for him at the front door. 
Tobias. At the front door ! 

Amelia. Exactly ! 



CONRAD. 19 

• Tobias. Eggsactly it is. [Steals egg,] You're a beautiful 

fori. 

. Amelia. Here now ! Go 'long wid your blarney. 

Tobias. [Aside.] I'll go long with the toast. [Takes toast.] 
; Did you say I'd better ring the bell at the front door ! 

Amelia. That's the proper caper. 

Tobias. What a beautiful chin you have. 
i Amelia. I seems to me that you have a good deal of chin. 

Tobias. Yes, and a good deal of fingers too. [Takes small 
tea-pot, places it in his pocket, capers around as the hot tea 
scalds him.] Oh ! the hot tea is running through my pocket and 
down into my boot leg. 

Amelia. What's the matter with you, are you crazy ? 

Tobias. No ! I'm delighted. Seeing you I could jump for 
joy [Aside.] Damn that tea-pot, I'm scalded. [Capers around, 
whirling on one foot until his ex through the gate.] 

Amelia. Well I never see such a jump-jack in all my born 
days. There he goes leaping like a squirrel behind the barn. 
Ha ? ha ? ha ? He has the St. Vitus' dance. Enters man- 
sion, soft music, stage dark. Enter Lawton, Blackburn and 
Leach from l. u. e.] 

Lawton. [To Blackburn.] You know just where to find 
the packages. So enter. Should you meet with resistance we 
shall be here to assist you. 

Amos. At the same time I'll send Tobias into the barn and 
fire it. 

Lawton. Does the fool understand what is required of him ? 

Amos. Yes. He awaits orders to proceed. 

Lawton. Very well ! To work at once. [Music, soft. At 
pistol shot cha;ige to Hurry. Leach goes towards barn, and 
Blackburn cautiously enters house. Lawton waits C. Sharp 
cry heard in mansion and a pistol shot. Tobias appears in 
barn with torch. Blackburn emerges from house with packets 
of documents, but before he can hand them to Lawton, Conrad 
dashes out of the mansion and seizes the papers from his 
grasp. A terrible rough and tumble conflict ensues between 
the three men, during the struggle Conrad drops the package. 
Leach runs dozvn and seizes it ; escapes with it. Conrad 
floors Lawton and Blackburn and dashes away towards the 
barn. Reaches Tobias, takes torch from him and hurls it 
away. Seizes Tobias and flings him down upon the mound of 
hay. Blackburn and Lawton open fire upon Conrad. Dun- 
can staggers to the verandah, bleeding, and falls insensible. 
Elsie comes from mansion and bends over his prostrate form. 



20 

CONRAD. 



*****t«lpictu£" rS C ° ntents «Pon his P hea/ b u' *?? 



CURTAIN. 



rSce»e-t CT "'~" AFTERF ' VEVEARS " 

dishes of f„Z 'f d across "age. Dot??' J" 2 E ' Hut ex. 

'"fireJLT^JZl'Z ''''? frii - °»^s£!in m 'l l *"*• 

scape. A ruJ?? f he roo f °f the hut il small fre bur nine 

«nd torrent fsJe! '?*** ***** «™Ltai*T * Wild la "*- 

«~f coffee :mltu7% er0 °^^^ 

Elsie discovered in z ', Sunset ™ the molJf Ut Axe 

clothes "wZki***"''.*™®* hanJZf? 1 " 5 - Music - 
"snwg on a line> R ^ " n Z ln g few articles of 

^fctd Z k to bi e I y SP K 0t this »• and what an" , 
years will brmgJand t abln< 0h > "e, what l'" pIace 
b etoo particular « ♦ l m not tarried ve nt , han S es fi ve 
u S'y men, not on e o " h ^ f ° r there '« nothing I * irl can 't 
™ soon be mar r ?ed tn ^ CSn h ° ,d a cand X ° **, Seen bu < 
^d frivolous f^J; m ' and th ™ K^^ We " •' 

" When vou w« , 



CONRAD. 21 

' Amelia. Indeed, I had. I'd better be starting before it's too 
f'v, late, for it's five miles to the ranch. 

Elsie. Why not let Conrad go ? 

Amelia. No, indeed. I want to surprise him. I'm done 
wid the clothes and I'll hurry wid my shawl and bonnet, and 
I'll be back wid the provisions before Conrad returns from the 
mountains. 

Elsie. Are you not afraid to go alone ? 

Amelia. Afraid ? Is it me ? [Enters hut for basket, 
shawl and bonnet.'] Afraid ? I'd like to see any one frighten 
me. No, indeed. Sure, I've learned how to shoot a gun. 
[Shows pistol.] And I'd like to see any one insult Amelia 
Brannigan while I have Conrad's pop with me. So, good-bye, 
I'm off for the Hour, eggs, bacon and fruits of that kind, and 
not forgetting potatoes for me, and sour krout for Conrad. 
'Till I see you again, tra-la-la-loo. [Ex. L. i E.] 

Elsie. Well, throughout all our troubles, Conrad and Amelia 
have stood by us nobly. Sad memories come and go, but I am 
supremely happy in the love of the man of my choice, and our 
little darling. [Gun fired, R. u. E..] Oh, what is that? My 
heart ceases it's throbbings whenever I hear the sound of fire 
arms, for it awakens thoughts of that night of terror. [Conrad 
heard off, R. U. E.] 

Conrad. [Off.] Come along. Dot's right. Me and you 
shot him. Come straight along and don't slip in de vater. 
[Music, lively. Conrad crosses log bridge with gun in hand, 
bearing little child upon his shoulder, child extends towards 
Elsie its hand, holding the squirrel Conrad shot. Conrad 
descends to stage and comes C. and allows child to run to 
Elsie and kiss her.] 

Elsie. Why ! Conrad, where have you been, and where 's 
Frank ? 

Conrad. I vos out shooting. Frank he will be home pretty 
soon, but he must go back again, because he found a goot 
claim and he must fix it or somebody might come along and 
jump it. Oh ! he's got a goot one dis time. Silver by the 
bushel. We will all be rich ! Is you going to cook dot squirrel 
for supper ? 

Elsie. Our supper is upon the table and waiting. 

Conrad. All right, I'm waiting for the supper. Hold on a 
minute. I'll call Frank, [Goes to bridge and halloes.] Say! 
Frank. Mister Remington, your wife says if you don't come 
right away home you von't get no supper, do you hear ? 
[Pause.] We got roast turkey and pie for supper ! Say ! 



22 CONRAD. 

Frank, come to sup-per ! Dot brines hi™ a . - 

now. [Descends I V stage. PranT i'^' 5 * 

cendsj embraces Elsie] ^ and d 's- 

a ffiT^^if^^^^ you ■ ' have f„„„ d 

"ftSi ''or™ " V* "^ a".- su e p per" " ^ to *™ id 
Conrad. Oh ? vofs der use of ^oing- back a^ain > u 

Xtw ? a,s il ,et em ha - ■•■ D « «5££.TS,ii 3 s x e ; 

theses .*£ .rj^ftheT"" 10 "' ^ »*» » h ° ™«^ 
fellers vot wouldn't cu, nobody's ,h oat^ 7f de men „ ' "'" 

the will ,0 toil formylo^ed ones andlturnmvh e |; gthan . d 

little one P y * "" y0Ur kmdness t0 ■»■ and to our 

wa'rZftp. 1^S n L C ;'i5" d fl" ""<« *> "- and 
«.**. CoLJ tlac g d/kcs etc Zfre'Z "'""" "" 

May introduce recitation, etc here\ Hold on . TT' 8 ' ""^ 
to the creek and get a bucket of frlsh water' Mu™ *°i£? 

formation from the owner d WC ma >' * et in " 



k 



ft 



CONRAD. 23 

There's but you and I to share everything, and appropriate the 
claims that are known to be fabulously rich in silver. 

Blackburn. It was a lucky thing for us that we got rid of 
Leach, the scoundrel would have claimed the lion's share of 
everything. We've given him the slip nicely. Here, in this 
wild country — it would be like hunting for a needle in a hay- 
stack — to search for us. 

Lawton. Sing Lung, do you know the road ? You've led us 
over the wrong trail. Now do you know your way ? 

Sing. Me no can telle. Me nebber come dis away all samee 
afore. No member dat housee and watee up dar. 

Lawton. You stupid rascal, do you remember anything ? 

Sing. Me 'member you promise Sing Lung sixdollee a week 
for workee for you ! don't forgetee — allee samee ? [Enter Con- 
rad L. u. E. with a bucket of water, ,] 

Blackburn. Here's the owner of the cabin, he will set us 
right. Say lriend ! How far is it to Animas ? [Conrad starts 
at the sound of the voiced 

Conrad. About twelve miles 

Lawton. Which trail ? 

Conrad. Cross dot bridge and go right straight across der 
mountains you can't help but miss it. 

Lawton. Who does this cabin belong to ? 

Conrad. It might belong to me, but it doesn't. [Enters 
cabin.] 

Blackburn. Well, come along, it will be dark in a short 
time and we'd better be on the trail. [They ascend to bridge, 
Blackburn crosses, Sing Ling following, Conrad watches them 
anxiously as they cross bridge and ex. R. u. E.] 

Conrad. If I am not much mistaken der's going to be some- 
thing wrong in der atmosphere. Where have I seen dem faces. 
Der voices is all right, but de faces, dat's what sticks in my 
Dutch head like shoemaker's wax. [Enters cabin and sits at 
table joins Prank and Elsie at supper, Lawton and Black- 
burn appear on bridge fro7ii R. U. E.] 

Lawton. Is it possible that you did not recognize him ? 
It's the Dutchman Conrad and it's safe to say that Elsie 
Duncan and Frank Remington are the occupants of that 
hut 

Blackburn. Suppose they are ? 

Lawton. I have vowed that Elsie will be mine, and the op- 
portunity now presents itself. 

Blackburn. We'll, keep out of the way until we find out the 
number of persons in that cabin. 



2 4 CONRAD. 

[T^ITr. u H E e j tUrn and CXpl0re thC surroundi »S s after dark) s 

Prank. Conrad ! I will at once return to the gully and finXl 
ish staking out the claims. S y f ' 

Conrad. Vel, I guess I'll go mit you ! 

Frank. No. You had better remain here to protect Elsie 
and the baby, I will soon return. pruieci usie 

Conrad. By gosh | I don't know vot to do. 1 ought to go 
mit you unt I ought to stay here. ** ! 

Frank. YVhy ! whafs the matter. Why do you evince ' 
alarm. We have lived here nearly four years and we have 
never been molested. 

Conrad. I know dot, but I saw a couple of fellars pass de 
house just a httle while ago and I don't think dot dey mean to 
mind der own bizness ! y 

Frank. Idle fears. Conrad, we see miners passing- and re- 
passing at all hours. They never ever intrude in ou? humble 

Conrad. If dese were miners den I am a Dutch blockhead 
No sir, dem was sheeps mit wolves' clothing °'°ckneaa. 

_ Frank [laughing]. Stay at home and watch over those left 
in your care. 
Conrad. You bet I will, with my life. 

^w^V J Wil1 ? e P re P ared in case I am compelled to defend 
myself. [Places brace of pistols in his belt.] V 

Conrad. Look out for two black whiskered fellars mit a 
chinaman ; keep your eyes opened and see if you recognize de 
voice or de faces I wish you wouldn't go to-night. 

Elsie. If Conrad expresses fear for your safety I beg you not 
to go my darling. Let the new discovery go, remain at home 
at least until morning. »v«ic, 

Frank. Again I say calm your idle fears and await mv 
speedy return. [Embraces Elsie end kisses the child ■ he ex 
from the cabin; Elsie follows him to the door and watches 
mm as he crosses the bridge and ex. R. u. E.l 

Elsie. I cannot banish the feeling of an unspeakable dread 
hat hovers near me. I wish that I had prevented him from 
leaving our home to-night. [Enters cabin.] 

Conrad. Now der next fingon der programme is to have de 
little one go to sleep. [Takes child in his arms and sings a 
lullaby or cradle song. Elsie clears the table and puts away 
the dishes while Conrad is thus engaged. During the song 
Lawton crosses bridge and descends to stage. He advances 
cautiously and peers in through the crack of the door or win- 



CONRAD. 25 

"w. Listens to the song. Conrad places the child in the crib 

id rocks it until assured that it is sleeping. Elsie comes to 

tH \e cradle and kisses the sleeping child. Lawton moves away 

>-om the door. 

i> 

Lawton. Here she is at last within my very grasp and es- 

I ape is impossible. I have rid myself of Leach and I will do 

le same for Blackburn. I'll attend to his case when the 

noper time arrives. [Tobias Pecksniff very ragged and 

I emaciated enters R. 1 E., and collides with Lawton as he is 

, tnoving away.] 

Tobias. Hello ! you nearly knocked me over for I'm too 
feeble to even stand a gust ot wind ! 

Lawton. That voice, can it be the same person ? 

Tobias. Well, shake ! [Extends hand.\ Who could ever 
once gaze into your beautiful mug and forget it — shake, old 
pard — glad to see you, still hanging around houses I see. At 
the old business, eh ? 

Lawton. Who are you, fellow, that dares to address me in 
this manner ? 

Tobias. Oh ! nixey on highfalutin airs. You know me well 

enough, I am Tobias Pecksniff, a little bit ragged, but I'm ail 

here. Don't you forget it. You see I took the general advice 

of "go west." I came west and I'm broke again, and I'm 

( hungry as usual. 

Lawton. Can't say that I remember you. I never saw it 
before. 

Tobias. You didn't, eh ? Do you forget the night you 
entered Duncan's house, stole valuable documents, and either 
you or Blackburn killed the old man ? I was to have fired the 
barn, but the dutchman fired me out of it. It's nearly five years 
ago, but I have a pretty good memory. Everybody shook me, 
but I won't be shook. I came to the mines, little expecting to 
meet old friends. Gaze upon this heterogeneous figure, and 
mark well the fluttering remnants of a six dollar suit, and then 
have the cheek to say you don't recognize Tobias Pecksniff? 
Such ingratitude is enough to make a cast iron monkey bow its 
head with grief! 

Lawton. Come to look at you closely I do remember 
you. 

Tobias. Now, you're talking sensible. 

Lawton. Now, what is your business with me ! 

Tobias. Business? Why, to stick to you ! United we stand, 
divided we fall ! [Conrad takes coffee mill, and sitting near 
door, is enabled to listen to the two men conversing, and at 



\ 



26 CONRAD. 

the same time prevent Elsie from listening in order to 
alarm her.] 

Lawton. Your presence here may be beneficial to me. Uj 

Tobias. I hope yours will be a benefit to me, 

Lawton. Now, listen to me. You are in need and I can I 1 
sist you — in return I want your co-operation. I see that yl 
remember the affair at Duncan's homestead ! Some of tl 
family are occupying that cabin ! 

Tobias. You don't say so ! Who are they ? 

Lawton. Duncan's daughter, Elsie, and her husband, Fran< 
Remington, and a person well known to you, the Germarj, 
Conrad. ] 

Tobias. Is that Dutchman in there ? 

Lawton. Yes. I saw him enter that cabin. 

Tobias. Well, I'm no hog, I know when I've got enough. . 
don't want another introduction to his fist. He hits harder 
than a mule can kick. He paralyzed me with one lick, but I've] 
got a couple of friends down the ravine, and I reckon we'll 
make it lively for him before long. 

Lawton. I see but one way out of the situation. Blackburn 
is here with me, and once rid of him, you and I can share and 
share alike. Do you comprehend ? 

Tobias. I tumble ! He's in the way, and you want to bounce 
him. 

Lawton. Correct ! 

Tobias. And after you get through with me I'll be in the 
way, and you'll want to bounce me ? 

Lawton. No. I'll make a solemn, compact with you. I 
want your assistance, and you can influence your companions to 
join you. 

Tobias. Where's Blackburn now ? 

Lawtsn. He is shadowing Frank Remington. 

Tobias. Well ! What's the lay ? Speak out. 

Lawton. First, I will seek an interview with Elsie. In case 
of emergency we can destroy them all. Blackburn can attend 
to Remington. I'll attend to Elsie while you look after Conrad. 

Tobias. Not much ! You attend to the Dutchman and I'll 
look after the lady, for I've always been a great favorite with 
the ladies ! 

Lawton. You have my orders now, be kind enough to 
execute them or decline sharing the work with me. 'Sh, I hear 
someone approaching. We must not be seen together. Call 
your comrades and be within hearing distance. 

Tobias. I savez ! Now you see me and now you don't ! 



CONRAD. 27 

I t stily ex. R. 1 E. Sing Lung crosses bridge and descends 
,- y stage. Conrad comes to door of hut and cautiously peers 
-'oug/i Hie door. Elsie still at the cradle watching the sleep- 
■t child.] 

„ Sing. Mellican man sendee me tellee you he findee man 
'.t you tellee him follee — wantee know what he makee do ? 
Lawton. Return to Blackburn, tell him to prevent that man 
"jm coming back. You understand me ? He must not come 
,'ick here at all ? 

Sing. Sing Lung understandee. Makee so ! [Draws 
.nger across throat and hastily ex. across bridge.] 

Conrad. [To Elsie]. I will begone for a short time. Don't 
'orry. I'm going to meet Frank and return with him. I'll be 
ear you in case you need me, good-bye. Don't ask me any 
uestions now. Wait until I return. Keep the door barred ! 
\dmit nobody. [Hastily slips out of the hut while Lawton 
s gazing in the direction taken by Tobias. Conrad pauses on 
fridge — shakes fist at Lawton and follows after Sing Lung, 
jjawton turns in time to discover Conrad as he ex.] 

Lawton. That's good ! The German is out of the way. 
Elsie. What mystery is this ? Frank insists upon returning 
to the spot where he has been at work, and now Conrad leaves 
me in a most mysterious manner. Heaven grant that my fears 
may not be realized. [She is about to bar the door when Law- 
ton approaches and knocks for admission. Elsie opens door.] 
Is it you, Frank ? [She comes from hut.] 

Lawton. No ! But an old friend. Start not, I mean you no 
harm. I have sought you far and wide. I find you the wife of 
one whom you should shun as though he were the evil one him- 
self. 

Elsie. [Drawing back]. Sir, do you know of whom you 
speak ? 

Lawton. Yes, I see you fail to recognize me. I am Philip 
Lawton. By a strange fatality I found this hut and discovered 
the identity of the inmates. You will remember that your 
father was basely murdered and that the crime could not be 
fixed upon anyone. I have since discovered the assassin and 
have ample proof to verify my statement. [Lawton moves 
cautiously towards door while speaking and places him- 
self in such a manner as to prevent Elsie from re-entering 
hut.] 

Elsie. If you knew who it was that slew my dear father why 
did you not testify at the inquest ? 

Lawton. I since discovered the real assassin. Your father 



28 CONRAD. 

had documents of great value. These were stolen. Th(^' 
deeds of valuable claims in these silver regions. Now, 
reveal a secret to you. Years ago your father appro; - 
funds entrusted to his care. The funds and documents 
the property of Henry Remington and to be placed 
hands of his son Frank when he became of age. To ma] 
long story short your father speculated and lost nearly e . 
thing entrusted to his care. By some means Frank Rem 1 
ton discovered how he had been robbed and he determinec 
secure the deeds.- 

Elsie. I will not believe it. 

Lawton. But the proof will convince you. He obtained 
assistance of several men and your father, in defending 
property was basely murdered. Attracted by the crie 
reached the spot in time to see the escaping murderer 
lately discovered his true identity ! 

Elsie. Who was it ? 

Lawton. The man you have married ! Frank Remingt 
[She falls insensible and Lawton receives her in his ar 
Enter Conrad disguised as the Chinaman Sing Lung R. i 1 

Lawton. [Places Elsie on bank R. c] Here you almc 
eyed rascal, you're just in time. Get some water to revive 
lady. 

Conrad. All a rightee, me fly ! quickee like a snail — a 
samee. \Hobbles into hut and brings water. Lawton sprint 
a few drops upon Elsie's forehead.} 

Lawton. [To Chinaman.'] Did you see Blackburn ? 

Conrad. Everything all fixee — Mellican man soon be d 
like a sardine ! 

Lawton. Then you rejoin Blackburn and aid him if ne< 
sary. 

Conrad. Me stay here. Helpee you whipee Melican won: 
Me show you how me whipee my girlee in Hong Kong, 
wasee in lovee once — Sing Lung gotee heart brokee by 
samee girlee, dats why me sailee in big ship to Melican countr 

Lawton. That will do — cease your squeaking' ! Did you 
the German ? 

Conrad. No, if you lookee sharp you mightee see him. 
fio can see, no placee ! [Looking about.} 

Lawton. Did you meet him on the way ? 

Conrad. No, last time me see him was rightee here ! C 
by you ! 

Lawton. I saw him myself. But he left the house and 
lowed after you. 



CONRAD. 29 

! 1 '' s;i> No, follee chinaman ! Me too smartee Sing Lung 
.-. sU tia tall ! What going to do wid Melican lady ? 
' ,'P: m. You attend to my wishes and don't ask any ques- 
,/r Do as I tell you — Go ! {Enter Tobias Pecksniff fol- 
j y Hank and Steve R. 1 e. Conrad ascends to bridge 
' t and crosses over to R. and disappears. - ] 
£ias. Here's the lads I was telling you about? Nice 
'jig fellers and perfect gentlemen. 

'iWton. Let them both follow that chinaman, and if he 

.ipts to return — silence him. 

I (bias. [To comrades.] Do you hear that, my beauties ? 

' ' ' away with you like two thoroughbreds. [Hank and Steve 

vw after Conrad. Elsie revives and moves towards the 

■] 

iawton. Stop ! one moment ! You remember that years 

& I offered you honorable marriage. You refused me, the 
les are turned now. You were in position to refuse, now 

I are compelled to obey ! 

,'ilsie. Contemptible ruffian ! stand from my path. You are 

1 a miserable villain and insulter of helpless women. 
I 'rosses L.J 

Lawton. Not a word of abuse. Listen to me — at this very 

jment my emissaries are on the track of the man you have 

arried, and even now he has received his death blow — Con- 
id will fall into the hands of those in pursuit and you are left 
.vithout a protector. [Advances.] 

Elsie. Not without a protector, for I have this to defend my 
honor, and rid the world of an infamous villain ! [Levels 
mall pistol at Lawton.] 

Tobias. [Clapping hands.] Good ! Good ! I like to see 
a plucky woman, darn me if I don't ! Go on ! It's just as good 
as a drama ! Act 1st — Scene 1st. The villain is baffled and 
the curtain falls ! A little red fire would have a fine effect. 

Lawton. Lower that weapon instantly. 

Elsie. Dare to advance another step nearer to me and I 
fire — I am desperate and will resort to bloodshed if I am driven 
to it. Do not tempt your own destruction ! 

Tobias. There's blood in her eye ! Aim the other way 
missis — I ain't the man ! 

Lawton. Lower that pistol and I promise not to molest you 
or your child. [Advances towards hut.] 

Elsie. My child. My darling little one, I had almost for- 
gotten her. [She turns towards door, Lawton dashes forward 
and seizes her hand — disarms her.] 



30 

T C ONR ADi 

-toTa?^^ »y fair 0ne Vq 

/o farts of t/ tg A , Tohl **'»tersL, Urn '* to t 
str **?jrles ti'&isthe hut Sf hate - f/7^1 

",'"» w* <'S/;" Haai *wi %?! h " rls Steve 

''""•'•n and Sli' g " ! >" roof u I" aps Jowlh, 

a r»is— seizes an a ff J le cra dle and * u tru ^es , 
from the burning *"*J«»<rs dZt *£' ***%#& 

£, 1 ? Wt0a «Z* darts/ eafSU t *tL V°V- "»d , 
Lzwton. Sehe h /s J°™*rds Co*v*A \ Elsie break 

Co nrad . Back "J "r '^ «*« / 7*"''' <w/2 

cr ouchi, t „ a ,~ ck ° r ' stretch v„. , ^'urtA w 

Colored f ret 

Tableau. 
CURTAIN. 



CONRAD. 31 



- 



I \ ] ACT III.— THE DAY OF RETRIBUTION. 
c .t 

£ E. — Interior of ruined wooden building used as outlaw 

'j uarters. Barrels, bales of furs, boxes and various 

■ | -s litter the corners of the room. [Box set] a short flight 

oden steps R. 2 E. Several barrels near the steps. 

j 1 -dated fire-place L. 2 E. boxes and bales to R. of fire-place. 

' ' R. c. several stools. Lighted candle on table. Door in 

k Window in flat L. Old coat and hat upon bales L. 

,]aw behind barrels. Fire in fire-place. Kettle, etc. 

A dark. Storm. Music, Fizz. Conrad and Amelia 

J' .autiously. 

I 

\ irad. There's no one in here. Don't you think you've 
■<] a mistake ? 

"lielia. Not much I haven't. This is the place, for I've seen 

, .ame men going in and out of here — that helped Lawton 

is dirty work. Mind what I tell you, this is where he is — 

5 ey'll bring him here. We're too soon ! 

! ' tnrad. Then suppose we lay low for them, we've got the 

Ge to ourselves any way. 
■ - melia. Oh, Conrad, if it had been you that was carried 
ay, I'd be crying my eyes out — oh ! I can't bear to even 
hik of losing my darling Dutch husband that is soon to be ! 
'eeps.\ 

Jonrad. Here ! Cheese it — somebody will hear you and 
lime in and scoop de both of us in. Remember you ain't in 
\ iv own house to act foolish ! 
Amelia. Oh, Conrad, if anything ever happens to you I'll be 
widow, after waiting rive years lor you. Oh ! my own bol- 
gna ! Come to my arms. [Amelia darts forward and em- 
braces Conrad.J 

Conrad. Look out ! You vill smodder me to death ! Ah ! 
did you hear dot ? You've cracked one of my ribs mit your 
bohshness ! 
Amelia. That's nothing, you've broken my heart ! 
Conrad. Veil, get some glue and have it mended. 
Amelia. Ah ! Conrad, you're the glue ! 
Conrad. Dot means you vant me to stick to you ? 
Amelia. Why, of course — when I die you've got to die too 



32 CONRAD. 






— and we'll both be buried in one little grave — won't that be 
nice ? 

Conrad. Oh yes — very nice — but please excuse me. I want 
to live. Let us first get Frank Remington out of trouble and 
then we'll talk about love. Amelia Brannigan ! Can you fight ? 

Amelia. Fight ! Hurroo ! Stand out in front of me and see 
me knock you clean thro' the roof with one of my upper cuts. 

Conrad. Hold on. Don't lick me until after we're married. 
That's the time wives always show their muscle. If you can 
fight we'll stay around this house and rescue Frank. 

Amelia. I'll fight as long as you will. 

Conrad. Amelia Brannigan, you're an Irish Daisy. You 
called me a Dutch Daisy once, and now Germany and Ireland 
is in the same flower garden — come along. [Going.] 

Amelia. Say ? Did you forget anything ? 

Conrad. No, I think I have everything. 

Amelia. Hold on ! I'm sure you've forgotten something. 
Something very important. 

Conrad. Veil, I can't guess vot it is 

Amelia. Well — you forgot to ask me if if — I'd — if I'd 

Conrad. If vot ? 

Amelia. If you'd kiss me ? 

Conrad. [Bus.] Oh ! ho ! dot's it eh ? Veil get yourself 
prepared. [Conrad embraces Amelia. Pecksniff appears 
from behind a bale where he has been sleeping — and looks o?.'*i 
bale at the lovers.] 

Tobias. Ah ! ha ! Caught you, did I ? This is a nice v» v 
to wake a gentleman out of his sleep. Yum yum, rii A 
before me will you ? I'm a witness in case of a breach V ^ 
promise case. [Conrad turns.] Oh ! Darn me if it isn't l^ e 
Dutchman — Legs do your duty. [Runs/or door.] 

Conrad. Hold up there, I want to see you. 

Tobias. I'd rather be excused ! [Conrad levels pistol I • t 
Tobias.] \ 

Conrad. Veil, I'd rather not excuse you ! come back here \ 

Tobias. [Returning.] What do you want with me ? 

Amelia. Come here, you thafe o' the world. Ah ! ha ! B 
know you now. You're the one that stole the toast and thel 
eggs from me ? 

Tobias, Please don't mention toast and eggs, you make mj l 
mouth water ! 

Conrad. I'll make your mouth water if you don't answer my 
questions — You were with the rascals that led Frank Reming- 
ton away and you know where he is. 






CONRAD. 33 

Tobias. Like George Washington, I cannot tell a lie — I do ! 

Conrad. Now then, I give you three minutes to say your 
prayers ! 

Tobias. Never mind the prayers, give me three minutes to 
eat ! Don't send me out of the world with an empty stomach ! 

Amelia. Look here, you rapscallion, we'll spare your life and 
feed you on dainties if you assist us — Refuse, and Conrad will 
feed your appetite wid bullets. 

Tobias. Put down that pistol — I'm open to conviction — I 
don't care who I serve as long as I have enough to eat — I want 
to be honest and shake these villains if I can — Here's my hand 
upon it. 

Conrad. Now what do you know ? 

Tobias. An old nigger by the name of Charley, takes care of 
this place and they'll bring Frank Remington here. He is now 
in care of some of the gang of horsethieves that own this build- 
ing and I'll bet they're not far off. Listen! They're coming up 
the path, We'd better skip out, or they'll nab all of us. 

Conrad. Pecksniff ! no games on me. The least sign of 
treachery and you're a dead galoot. 

Amelia. Conrad ! We may never meet again — or have a 
chance to get married. Kiss your Amelia ! [Conrad embraces 
Amelia.] 

Tobias. Oh ! I can't stand that. I'll faint, I feel myself sick 
at the stomach. Don't ! don't — have pity on a man that hasn't 
had any delicacies for years ! [Bus. ad lib. Conrad and 
Tobias exits l.-i e. Amelia exits r. i e. Conrad keeps his 
eye on Pecksniff and takes him out, ad lib. Music. The door 
opens and Frank Remington is led in by outlaws. He is 
secured by rope. He is followed by Lawton and Blackburn. 
They go to table — produce and examine papers while'Ex&Tfl&.is 
led to a box, and made to sit down. Group then go to table 
and watch the examination of documents to spread out by 
Lawton and Blackburn.] 

Lawton. The way is perfectly clear, I can see no obstacle. 
We have the papers and we have the man who could stand in 
our way, were it possible for him to do so. 

Blackburn. That's all very true ! we allowed the woman to 
escape and you may rest assured that the German will give us 
trouble. 

Lawton. None at all ! You can calm yourself on that score. 
I have men on the track of the fellow and the chances are that 
they will soon be imprisoned in this place. Joining this formid- 
able band of road agents is a blessing in disguise and we can 



34 CONRAD. 

work with safety, Have you carefully examined the papers and 
noted the exact location of the claims ? 

Blackburn. Well — not carefully — But I will do so now — 
These men know the country and can give me information 

as I look over the section maps {Produces package and 

examines the papers — aided by men at table. Lawton ap- 
proaches Remington.] 

Lawton. You will admit that your chances are very slender 
— You will never leave this place alive. 1 have waited patiently 
five years for vengeance and at last I am to be gratified ! You 
stepped in between me and the woman I loved 

Frank. [Rising.] Silence ! villain ! Dare not speak of 
yourself and that angel being in the same breath ! Were 
my hands free I would choke those words in their very utter- 
ance. 

Lawton. Calm yourself. Resume your seat, you cannot do 
any mischief with your hands — Your words have no effect upon 
me whatever. Your movements are few, so make good use of 
your tongue ! You had proof that Elsie repented having 
married you 

Frank. With your foul slander — and false statement you did 
work upon her credulity — but she afterwards scorned to listen 
to you. I failed to reason and hearken to the promptings of my 
own heart, and doubted her — Heaven forgive me for it. 

Lawton. You are growing sentimental. You cannot oblit- 
erate the facts. [Pecksniff appears, descending steps — Lawton 
goes towards stairway to meet him.] 

Tobias. No good news lor you ? The whole thing is ker- 
flummoxed ! 

Lawton. Did I not tell you to track them to their new-found 
place of shelter ? You idiot You brainless fool, are you 
devoid of all understanding? 

Tobias. I'm an idiot, eh ? I've got more brains than you 
give me credit for and darn me if I don't prove it to you, too, 
before long. [Music, Pizz. Conrad appears at window with 
rifle and cautiously enters and conceals himself behind the 
boxes etc., near old fire-place.] 

Lawton. [Pauses.] I did not ask you to interfere with them 
— I merely wanted to know their hiding place. 

Conrad. [Aside.] One of dem is right under your nose ! 

Tobias. Well I'm not to blame — I'm an idiot, and I haven't 
got any brains, but I'll borrow some — Here's to you ! [Goes to 
table and drinks from bottle.] Hem! Them's good brains! 
[Replaces bottle.] 



CONRAD. 35 

Lawton. I dare say you haven't seen the negro — Black 
Charley — have you ? 

Tobias. Having no brains — I can't remember ! 

Conrad. [Aside.] Dots de nigger dat I keeled over and 
pitched in de river. 

Lawton. I want him — see if you can find him. 

Tobias. If I had a drag net I might find him. Perhaps he's 
not far away — \Bns. Conrad takes ashes {burnt cork) from 
fire-place, and blacks his face in full view of audience, while 
crouching behind the boxes and bales. Takes the coat and 
hat that lie finds upon the box, and puts on both coat and hat — 
then lies down at full length behind the mass of bales. This 
is all accomplished while Tobias and Lawton are conversing.] 

Lawton. Are you sure that you did not see him outside ? 

Tobias. It isn't likely the nigger's going to stay out in the 
rain. [Glances towards Conrad's hiding-place and compre- 
hends the trick that Conrad contemplates.} 

Lawton. I thought I saw Charley's coat and hat upon these 
bales ! 

Tobias. I'll bet the nigger is asleep somewhere. [Tobias 
searches behind boxes, etc., and discovers Conrai behind boxes. ,] 
Didn't I tell you ! Here he is, fast asleep ! [Conrad snores. 
Lawton crosses over and attempts to awaken the supposed 
negro.] 

Lawton. He sleeps like a log ! Wake him up if you can ! 
Tobias kicks and arouses Conrad who rises apparently stupe- 
fied.] 

Conrad. Who's dat kickin' dis chile ! I was jest havin' a 
lubbly dream bout baked possum and taters covered wid 
gravy. 

Lawton. Wake up you black rascal, I want to talk to you — 
wake up. [Shakes Conrad.] 

Conrad. Wat d'ye want ! Don't shake me like dat. I'll fall 
all to pieces ! 

Lawton. I want you to put that little room in order, for I «x- 
pect a lady to occupy it. Do you understand me ? 

Conrad. Yes, you want me to expect you, to have order 
when you occupy de expectations and you want me to — to — to 
expect de little room yonder ! 

Lawton. What are you talking about ? 

Conrai. Dat's what I want to find out ! 

Lawton. Put that little room in order. 

Conrad. Oh ! Yes — yes ! I see ! I see ! 

Tobias. [Aside.] That's more than Lawton does ! [Lawton 



36 



CONRAD. 



joins the group at the table, Conrad draws near to Prank 
Remington.] 

Conrad. [Aside.] Don't be discouraged, Master Frank. 
Conrad is here, close beside you. [Moves away to C] 

Lawton. \lo Blackburn.] Have you satisfied yourself about 
the locality ? 

Blackburn. Yes. We are positive that we have struck the 
exact spot. We're rich beyond expectations, for the yield of the 
mines in the vicinity is something fabulous. I'm in the best of 
spirits and overjoyed at the discovery. The lads here, know the 
territory and we're all O. K. 

Tobias. You bet you are, in your mind ! 

Lawton. [Crosses to Frank.] I have a proposition to make 
you. We have resolved to dispose of you at once. Yet, I will 
spare your life, on condition that you leave the country at once, 
renounce Elsie and never see her again. These are the terms 
of your safety, refuse, and your fate is swift, and certain. 

Frank. Scoundrel, I defy you. I reject your infamous pro- 
posal, and scorn to even hold conversation with you. 

Lawton. We have the documents that rightfully belong to 
you. Immense riches lie beneath the soil of the claims. I will 
give you a share, if you leave the country, and accept the terms 
that will save your life. 

Frank. Begone, villain ! Would that my hands were free. 
Only for a few moments. 

Lawton. Your doom is sealed and your moments numbered. 
Depend upon it. [Rejoins group at table.] 

Blackburn. Have no words with the fellow. Take him out 
and dispatch him. Come Charley, sing us one of your old time 
songs, it will be a death chant for Frank Remington and serve 
to put us all in good humor. 

Tobias. Yes, that's so. We want to be in good humor. Go 
ahead, Charley, sing, put them in good humor ! [Conrad sings 
plantation song, and executes grotesque dance. During the 
song he manages to draw near to the table and slyly takes a 
knife that Blackburn has placed there. While dancing he 
flings the knife towards Frank, and then dances down front. 
Frank manages to pick up the knife and conceal it. Conrad 
ceases dancing when he is satisfied that Frank has secured 
the weapon.] 

Tobias. [At end of dance.] Good ! good ! just as slick as 
oil. That takes the cake, the oven, and the bakery, and the 
baker. 

Conrad. [Aside.] And Master Frank takes the knife. 



CONRAD. 37 

Blackburn. The darkey is spry as a squirrel. Dance again, 
'pon my honor, it's amusing. 

Conrad. Oh, ye ain't got to de funny part yit ! 

Tobias. No ! This ain't where you laugh ! You'll be in 
good humor in a little while. 

Blackburn. Come Charley, sing and dance for us again ! 

Conrad. Boss I'se all out of wind ! I'se got a tech o' rheuma- 
tix too. I can't dance annoder step, and my voice is give out 
for a fact, I'll tell ye a funny story if you ain't got any objec- 
tions. 

Blackburn. Very good, tell us the story ! 

Tobias. Correct, Charley ! Tell 'em a funny story. . Make it 
funny, 'cause they want to be in good humor. 

Conrad. First, I ought to have a drop o' dat licker, to oil de 
safety valve. 

Tobias. Correct Charley, and I ought to have some for 
listening to you ! [Drinks from bottle and passes it to Conrad 
who drinks also.'] 

Blackburn. Begin your story. We're all attention. 

Conrad. [Meaningly.] All right, listen, for de story con- 
cerns you ! [These words are intended for Frank's ears. 
Music very pp. agitato.] 

Tobias. Cut loose, Charley ! 

Conrad. I was once in de mountains, wed a brodder, and 
we was took prisoners by a lot o' rascals just like you 'gemmen. 

Tobias. That's very complimentary, Charley ! 

Conrad. If I said anything, I'm sorry for, I hope you'll take 
it in good part. I said we was took prisoners, and my brodder 
was in de same room wid me, and he had his hands tied, I got 
a knife, and frew it to him, and he kotched it, and hid it. I tole 
him to go on and cut de ropes off his hands, while I was telling 
de scamps a funny story ha ! ha ! ha ! [Laughs boisterously.] 

Tobias. Funny as a graveyard, [laughs] I knew they'd all 
enjoy it. Go on, Charley. 

Conrad. My brodder understood me, for he went to work 
wid de knife, and cut de rope. He wasn't skeerd, because I 
could fool de rascals, just as I'm giving it to you gemmen now ! 
Golly it was funny — ha ! ha ! and dey never dropped on it — just 
like you Gemmen. [Frank manages to sever the ropes binding 
his hands,] 

Tobias. I spose they wouldn't " drop " if a house fell on 
them ! ha ! ha ! ha ! Go on, Charley ! [Frank listens to 
Conrad's story, and follows the instructions delivered during 
the recital.] 



38 CONRAD. 

Conrad. Den I tole my brodder, to look behind de bales, 'cos 
dar was a rifle dar. You see I had found it, and hid it dar. 
I saw dat he understood me, and he sneaked behind de bales — 
got de rifle — and came back to de spot where he was sitting in 
de fust place, I never seed a lot o' fellars have de wool pulled 
over dar eyes so easy in all my life. 

Tobias. Never ! Charley, never ! 

Conrad. I couldn't pull de wool over your eyes Gemmen, so 
easy, could I. 

Omnes. No — no. 

Conrad. Of course not, You Gemmen is too smart ! 

Tobias. Correct, Charley. We're too smart, go on put them 
in good humor. "We never tumble " is our motto. Colored 
brother, proceed with your absorbing narrative ! 

Conrad. Wall ! just as soon as I knew dat my brodder had 
de rifle and had his hands free I jist reached over and while I 
was a talking to de rascals I took one of dar pistols, dis way. 
[Takes revolver fro))i Lawton's belt.~\ and den I reached over 
and took anodder from a feller close to me. [Takes weapon 
from ruffian nearest to /rim.] Den I had two revolvers ! 
[Throws aside his hat.'] 

Tobias. Capital Charley, Capital ! 

Conrad. [Stepping back.] I yelled out to my brodder to 
get ready and I blazed away ! [Short hurry , fires both revol- 
vers, one of the ruffians falls to the floor dead, and Blackburn 
falls across table. Conrad darts forward and seizes the pack- 
age of documents. Lawton and his followers rush forwards 
towards Conrad. Tobias produces a huge horse-pistol and 
levels it at Lawton. Frank levels the rifle at rest of otitlaws. 
Picture.] 

Tobias. [To Lawton.] No you don't, keep you distance or 
I'll bore a hole through you as big as a baker's oven. 

Lawton. Pecksniff, do you turn against old friends ? 

Tobias. Old friends be darned. I'm an idiot, I ain't got any 
brains ! I'm working on my own hook now ! No taffy for 
Pecksniff! 

Lawton. Fools ! You are in a trap and your blood be upon 
your own heads. [Blows whistle, music, hurry. Outlaws en- 
ter L. I E. at the same moment the door is battered down and 
Amelia, leading on the vigilants rush into the apartment. 
A volley of fire arms follows and a hand to hand conflict en- 
sues, Elsie reaches Frank, and places the child in his arms 
while he embraces her, Lawton dart, forward, knife in hand 

to attack Frank. Conrad steps forward and shoots Lawton. 



CONRAD. 39 

The villain falls C. Conrad hands the package to Frank. 
Vigilants have overpowered the road agents R. L. Pecksniff 
has a defunct, outlaw across a stool attempting to saw him 
in half with old saw. R. C. Amelia and Conrad C. embrac- 
ing Conrad smearing her face with the cork upon his features 
each time she embraces him. Frank, Elsie and child L. C. 

TABLEAU. 

CURTAIN. 



THE DRAMATIC PUBLISHING COMPANY'S CATALOGUE 

NEW PLAYS, 1897-98. 

The First Kiss. 

Comedy in One Act, 

BY 

MAURICE HACEMAN. 

Author " By Telephone," " A Crazy Idea," Etc. 
One male, one female characters. Plays twenty minutes. 
Scene, a handsomely furnished room. Costumes, afternoon 
dress of to-day. This sketch presents an entirely new plot, 
with novel situations and business. The fun is continuous 
and the dialogue bright and refined. Price, 15 cents. 



Bird's Island. 



Drama in Four Acta, 

BY 

MRS. SALLIE F. TOLER. 

Author of " Handicapped," Etc. 
Five male (may be played with four), four female char- 
acters. One exterior, two interior scenes. Costumes, summer 
costumes of to-day. Plays two and one-half hours. This is 
one of the strongest dramas since "East Eynne." Thrilling 
situations abound and the comedy element is equally strong. 
The drama is strong in character parts, the plot including a 
blind man, an Englishman, who is not slow in every sense of 
the word, an Irishman, a Scotchwoman, a Creole maid and a 
charming soubrette, all of whom are star parts. The profes- 
sional stage will find this a drawing and paying play — but 
amateurs can easily produce it. Price, 25 cents. 



Hector. 



Farce in One Act, 

BY 

MAURICE HAGEMAN. 

Author of "First Kiss," "A Crazy Idea," Etc. 
Six male, two female characters. Plays forty-five minutes. 
Costumes, one messenger boy's, man and woman servants, a 
dudish young man, a flashy Hebrew, and lady and gentle- 
man's street dress. Scene, a well furnished reception room. 
This farce has been a great success among professionals. 
The situations are so funny they can not be spoiled by the 
most inexperienced actors. The dialogue keeps up a constant 
hurrah in the audience. Hector, the dog, forms the central 
idea of the plot of the play, but need not be seen at any 
time unless a suitable animal is at hand. Price, 15 cents. 



THE DRAMATIC PUBLISHING COMPANY'S CATALOBUI 

NEW PLAYS, 1897-98, 

Diamonds and Hearts, 

Comedy Drama in Three Acts, 

BY 

EFF1E W. MERRIMAN. 

Author of "Socials," "Pair of Artists," "Maud Muller," Etc., Etc. 

Four male, five female characters. Plays two hours. Cos- 
tumes of to-day for house and street. Three interior scenes. 
Each character in this play is original and life-like. The 
three pretty young ladies have each a marked individuality, 
as have also the young doctor and young villain. The bach- 
elor farmer has no rival unless we except the leading roles in 
" Denman Thompson," and " Shore Acres." He is a homespun 
lovable man and the scene in his home with his equally at- 
tractive sister is one of the strongest in the play. The drama 
is full of comedy, pathos and country life of the most whole- 
some nature. The story possesses an intense dramatic inter- 
est. Price, 25 cents. 



An American Harem, 

Comedietta in One Act. 

Two male, five female characters. Plays twenty minutes. 
Costumes are ordinary street dress, except travelling suit for 
one man and very elaborate house dress for the servant. 
Scene, a handsomely furnished parlor. Frank's young wife 
suddenly disappears from home in a fit of temper, at the same 
time that his old college chum as suddenly appears to pay him 
a visit. His Irish servant, his mother, his sister and his 
cousin, with the best intentions of helping him out of the 
.scrape, present themselves as his wife and the fun that ensues 
is immense. The comic situations arising from these com- 
plications are unlimited and the way in which the bright and 
sparkling dialogue works them out, keeps the audience con- 
vulsed from first to last. It is a play which furnishes oppor- 
tunity for the highest class of acting, but at the same time if 
the players simply walk through it, it will make a hit every 
time. 

It is easily staged as no scenery is required and the cos- 
tuming and properties are always at hand, Prio% I* centa. 



THE DRAMATIC PU3L8SHINO COMPANY'S CATAlOOUi 

NEW PLAYS, 1897-98. 

A Modern Proposal, 

Duologue in One Act, 

BY 

MARSDEN BROWN, 

Author of, "A Bold Stratagem," "A Passing Cloud," Etc. 

One male, one female characters. A drawing-room scene. 
Costumes should be ordinary evening- dress. Plays fifteen 
minutes. The best performers will welcome this two part 
comeay with the greatest cordiality. It is entirely new and 
very novel in situation and dialogue. All the changes seemed 
to have been rung upon a " proposal " scene for a young man 
and woman but Mr. Brown surprises us with an entirely new 
one. The dialogue is the most refined comedy, under which is 
shown at times strong feeling. Price, 15 cents. 



A Crazy Idea, 

Comedy in Four Acts, 

BY 

MAURICE HAGEMAN, 

Ten male, eight female characters. Costumes of to-day. 
One interior scene. Plays two and one-half hours. A jealous 
husband suddenly decides to put his house in the care of his 
nephew and take his wife and daughter to travel because he is 
possessed of the idea that his wife has a lover. The 
nephew is impecunious and a young colored friend persuades 
him to rent the house to roomers and take him for a servant. 
The fun then begins. Each lodger is a strong character part 
and they get themselves and their landlord and his servant into 
most amusing scrapes. However all ends well. 

The one scene required makes it a play easily produced on 
any stage where there are sufficient exits. The dialogue is 
very strong and keeps every audience in roars of laughter 
from beginning to end. There is no better comedy written 
than " A Crazy Idea." Price, 25 cents. 



THE DRAMATIC PUBLISHING COMPANY'S CATALOGUE 

NEW PLAYS, 1897-98. 

All Due to the Management. 

A Monologue for a Gentleman. 

BY 

HELEN M. LOCKE. 

Author of " A Victim of Woman's Rights," Etc. 
Plays fifteen minutes. Scene, a comfortable sitting-room 
with a writing- table. Costume, first overcoat and hat, which 
when removed discloses a plain sack suit. A gentleman is 
left at home by his wife to keep house while she is in the 
country resting. He attempts to write a magazine article 
while attending to his household duties. The result is a 
wrecking of his self complacency, his work as an author and 
the tidiness of the house. He finally leaves to recuperate 
with his wife in the country. It is an A 1 monologue. Price, 
IS cents. 



A Pair of Lunatics, 

A Dramatic Sketch in One Act, 

BY 

W. R. WALKES. 

Author of "Villain and Victim," '"Rain Clouds," Etc., Etc 
One male, one female characters. Plays fifteen minutes. 
Scene, a back parlor. Ordinary evening dress. This is among 
the most successful two-part sketches used at present. It is 
full of action and bright dialogue. The two characters mis- 
take one another for lunatics and the fun that ensues is im- 
mense. This edition is well printed. Price, IS cents. 



A Passing Cloud. 

A Monologue for a Lady. 

BY 

MARSDEN BROWN, 

Author "Bold Stratagem," "A Modern Proposal," Etc. 
Plays fifteen minutes. Handsome dinner costume and 
any pretty room. A handsome young woman is dressed for a 
dinner at her mother's house, and is waiting for her husband 
to return from business to accompany her. He is detained 
far beyond the time at which she expects him to arrive and 
she passes through a succession of emotions in consequence. 
This monologue can be presented before the most critical 
audiences with entire success. Price, IS cents. 



THE DRAMATIC PUBLISHING COMPANY'S CATAIOBOE 
NEW PLAYS, 1897-98. 

Conrad, 

OR, 

The Hand of a Friend. 

Drama in Three Acts, 

BY 

FRANK DUMONT. 

Author of "Undertaker's Daughter," "Too Little Vagrants," Etc. 

Ten male, two female and one child characters. Plays 
two and one-half hours. Two exterior, one interior of hut 
scenes. Costumes modern and wild-western. This western 
drama is full of startling - situations and thrilling incidents. 
It has been a most successful professional drama and pleases 
everybody and can be produced on a large or small stage. 
The bo«k of the play gives the most minute stage directions, 
which have all been tried for several seasons on the regular 
professional stage. Repertoire companies will find this play a 
"winner," while amateurs will find it entirely free from any- 
thing objectionable in dialogue and a play that is easily pro- 
duced. Conrad is a German character part which in the hands 
of a competent man may be made a star part, for he is given 
opportunity for much strong acting. However, there are six 
other strong characters. The Irish Servant and leading woman 
are good, and the Jew and the escaped convict, the half 
starved comedian are all excellent. Price, 25 cents. 



By Telephone. 



Sketch in One Act, 

BT 

MAURICE HAGEMAN. 

One male, one female characters. Plays twenty mjnutes. 
Scene, a handsome room. Costumes of to-day, the gentleman 
any suit except evening dress; the lady, any elegant costume. 
This strong little comedy sketch is full of action and new 
business, full directions for which are given in the book of 
the play. The dialogue is refined and brilliant and will please 
all audiences. A wealthy young society man is introduced to 
the notice of a young woman with an income also, as a poor 
photographer. A mutual interest is developed and the scene 
played is when the young woman comes to his improvised 
studio to sit for her picture for which arrangements have been 
"by telephone." The situation it will be seen is new and 
novel and the dialogue is the most refined comedy. There is 
no finer twenty minute sketch for two people. Price, 15 cents. 



THi DRAMATIC PUBUSHINO COMPANY'S CATALOGUE 

l897«l898. 

New Ethiopian Dramas. 

Price, 15 cents each. 

The following plays are all by the well known minstrel man Frank Dumont. 
Each one has been successful on the professional stage but now for the first 
time is presented in printed form. Fall and minute stage directions accom- 
pany each book of the play, and Mr. Dumont has made them very complete in 
every respect. Several of these plays may be played white face. 

Cake Walk. Farce in one scene by Frank Dumont. 
Fourteen characters, half of them in female dress. Plays 
fifteen minutes. The Cake Walk is one of the most character- 
istic darkey entertainments and this farce presents all of its 
ludicrous situations. The plain interior scene can be easily 
arranged and the properties are as simple. The "cake," "the 
bad coon," and the fat wench's antics are all side splittingly 
funny. 

False Colors. A black sketch in two scenes by Frank 
Dumont. Three male characters. Plays twenty minutes. A 
street and an interior scenes. One character appears in mili- 
tary dress with pistols and sword in belt, the remaining two 
characters are typical tramps at first and then disguise them- 
selves in outlandish military uniforms. The fun is slow and 
dry but bursts into uproarious burlesque at the end. 

How to Get a Divorce. Farce in one act by Frank 
Dumont. Eight male, three female characters, beside " a jury 
and other bits of judicial brie a brae." Plays fifteen minutes. 
This is a farce which is very funny played with white faces 
although originally written for minstrels. The scene is a 
court room and Judge Alimony separates three happy couples, 
before Mrs. Alimony breaks up the court proceedings. 

Jack Sheppard and Joe Blueskin, or Amateur 
Road Agents. Melodramatic burlesque in one act, by 
Frank Dumont. Six characters. Plays twenty minutes. 
Landscape scene. This is done for minstrels. The two des- 
peradoes, Jack and Joe are very funny and the piece acted 
with spirit is a sure hit. The dialogue gives opportunity for 
any amount of business and is full of genuine darkey humor. 



THE DRAMATIC PUBLISHING COMPANY'S CATMOOUE 

NEW ETHIOPIAN DRAMAS.— Continued. 



The Lady Barber. Sketch in one scene by Frank Du- 
mont. Four characters, two of them appear in female dress. 
Plays twenty minutes. Scene — a barber shop. This is one of 
Mr. Dumont's strongest plays. The fun begins immediately 
when the proprietor induces the white-wash man to assume 
the dress of a lady and take charge of the customers and in- 
creases until the shop is cleared out in a fast and furiously 
funny manner. 

Other People's Troubles. An eccentricity in one 
scene by Frank Dumont. Three male, two female characters. 
Interior scene. Plays fifteen minutes. This sketch may be 
played white or black face and has been successful on the pro- 
fessional stage, Lew Dockstader making a fine Zack. The 
play is a "screamer," full of smart sayings and funny situa- 
tions. The end is a rattling climax of merriment. 

The Serenade Party; or, The Miser's Troubles. 

A black sketch in one act, by Frank Dumont. Four characters, 
one in female dress. Plays twenty minutes. Interior scene. 
A popular professional sketch. The miser and his servant's 
efforts to deceive one another and their guests are uproariously 
funny. Here is great opportunity for fine business and full 
directions are given by the author in every book of the play. 

Too Little Vagrants; or, Beware of Tramps. 

Farce in one act by Frank Dumont. Three male, one female 
characters. Plays twenty minutes. One exterior scene. May 
be produced white or black face. This play introduces two 
of the most comical of tramp characters. The position of one 
of them forced to stand as a scare crow is very funny. There 
is nothing offensive in the bright and rapid dialogue. 

The Undertaker's Daughter. Farce in one act, by 
Frank Dumont. Three male, one female characters. Plays 
twent) r -five minutes. Plain chamber scene. This play may 
be given white or black face, and has been successful each 
way on the professional stage. The motive, dialogue and 
action all very original, bring screams of laughter from all 
audiences. Full stage directions accompany the book of the 
play. 



THE DRAMATIC PUBLISHING COMPANY'S CATALOGUE 

NEW PLAYS, 1897-98. 

Our Starry Banner, 

Original Patriotic Drama in Five Acts, 

BY 

J. A. FRASER, JR., 

Author of "A Noble Outcast," "Modern Ananias," "Merry Cobbler," Etc. 

Fifteen male, four female characters. Plays an entire 
evening. Costumes military and of the time of 1864. Three 
exterior, one interior scenes. By judicious doubling- this 
piece can be played by eleven male and four female characters. 
The plot of this play is a romantic and absorbing- story of the 
civil war. It is full of patriotism and the spirit of 1864, but 
there is nothing cheap or tawdry in either sentiment or plot. 
The author says: " The parts are all excellent and the leads 
are all on an absolute equality, Madge, Paul, Blackleigh, 
Dooley, the Squire, Judy, Millie and Will leaving little choice. 
Military organizations and Grand Army Posts will find this 
play exactly what they want, and Womans Relief Corps will 
see in Madge the only stage heroine who does justice to the 
noble part played by our women during these four years of 
untold anguish." 

The piece affords a wealth of spectacular effect, at little 
or no expense. A military company is required and a brass 
band or fife and drum corps will add much to the effectiveness 
of Acts I and II. Price, 25 cents. 



Joe, 



Comedy of Child Life in Two Acts, 

BY 

CHARLES BARNARD, 

Author of " County Fair," Etc. 

Three male, eight female characters. Plays forty-five 
minutes. One interior and one exterior scenes. Costumes of 
to-day. This charming comedy introduces two mothers and 
nine children, from six to fourteen years of age. Micky 
Flynn, the bad boy and Joe, " the girl who likes boys," are 
great fun and every audience loves little Pussie and Dolly. 
The play depicts healthy every-day child life with exquisite 
touches. It is adapted to performance on a regular stage of a 
theatre or on a platform with or without scenery. The 
author's idea has been to make a play of real child life with 
child art and at the child's point of view. It may be played 
by adults representing children, but is better by real children. 
Price, 25 cents. 



THE DRAMATIC PUBLISHING COMPANY'S CATALOGUE 



CHILDREN'S PLAYS 



The object of publishing these little plays is to provide a series that require 
one scene only in each piece and which will occupy about 15 to 25 minutes in per- 
formance. They can all be thoroughly recommended as the simplest plays for 
children ever published. Price, is cents each. 

The Fairy Blossom. 3 males, 3 females. Scene, a King's Cham- 
ber. The Fairy Blossom belonging to the queen has been stolen 
and the king vows he will severely punish the thief. Carlo is 
accused, but his betrothed wife Lena will not allow him to be sacri- 
ficed, as she plucked the flower to comfort her sick sister. The 
king, who had complained about having nothing to do, then learns 
that his alms have not been properly distributed among the poor in 
a proper manner and resolves to look after them himself. 

A Home Fairy. 2 males, 2 females. Scene, a Parlor. Bertie Eger- 
ton and his wife are very poor and cannot get work. Their little 
daughter Lily is desirous of doing something to help them. The 
proprietor of a theatre, Cecil Vane, arrives and offers to make Lily 
a fairy in the pantomime, to fill the place of one who is ill. Lily's 
mother happens to be Vane's long lost daughter and they are happily 
re-united 

A King in Disguise. 5 males, 1 female. Scene, a Cottage Room. 
This is the story of King Alfred and the cakes, his sojourn at the 
neat-herd's cottage, wh^re news is brought to him of the overthrow 
of the Danes. 

The Lady Cecil. 1 male, 4 females. Scene, a Room. A nurse 
brings her own child up as the Lady Cecil, the real Lady Cecil being 
lost when an infant. They have a handmaid, Clare, to whom the 
nurse is cruel, but she is beloved by Cecil. A fairy appears and 
pronounces Clare to be the child that was lost. Lord Hilary has 
courted Lady Cecil, but vows the change will not make any differ- 
ence in his affections. 

The Little Folks' Work, 2 males, 3 females. Scene, a Kitchens 
Three little children resolve to help their father and mother in 
household duties; they make terrible mistakes, but their parents are 
satisfied with their goodwill and loving help. 



THE DRAMATIC PUBLISHING COMPANY'S CATALOGUE 

The Magician and the Ring. 3 males, 2 females. Scene, a Room. 
The Lady Trevor has lost a valuable ring. She seeks the aid of a 
magician to find it. He discovers that the servants have taken it 
and he is enabled to restore it. 

A Midsummer Frolic. 2 males, 2 females. Scene, a Wood. Percy 
believes in fairies. His companions play a trick upon him, dress- 
ing up and making him think he is on enchanted ground. 

Prince or Peasant. 2 males, 2 females. Scene, a Road. Prince 
Claud has been betrothed in infancy to Princess Brenda, but the 
Prince, tired of Court ceremonies, disguises as a peasant in order to 
seek someone of sterling worth in humble life. The Princess does 
the same, they meet and exchange rings and afterward in their 
Court attire they recognize in each other the peasant they have 
already encountered and fallen in love with. 

Princess Marguerite's Choice. 5 males, 3 females. Scene, a Room. 
The Princess Marguerite is visited by various knights to solicit her 
hand in marriage. They offer her wealth, power and valor, but 
her choice rests upon Sir Innocent, who can offer her nothing but 
a spotless name and a loving heart. 

Snowwhite. 4 males 2 females. Scene, a Room. The queen is 
jealous of Snowwhite's beauty and instructs a servant to take her 
into a wood and slay her. The servant pretends this has been done 
and Snowwhite falls into the hands of the dwarfs. The queen's 
magic glass telling her that Snowwhite still lives, she dresses in dis- 
guise, and twice attempts to poison her step-daughter. Her plans 
are frustrated, she repents and Snowwhite is united to Prince Flor- 
imel. 

The Sleepers Awakened. 3 males, 3 females. Scene, a Room. 
Abou Hassan, the Sultan's favorite, and his wife, Nouzhatoul, are 
hard up. In order to obtain money he tells the Sultan that his wife 
is dead, while Nouzhatoul tells Zobeide, the Sultan's wife, that her 
husband is dead. The Sultan and his wife quarrel as to which is 
deceased and come to find out, whereupon Abou and Nouzhatoul 
both pretend to be lifeless. The Sultan offering a thousand gold 
pieces to know which died first, Abou jumps up and claims that he 
did. The Sultan is so pleased with their joke that he forgives 
them. 

The Three Fairy Gifts. 2 males, 6 females. Scene, a Wood. A 
fairy queen grants a gift to the three maidens, Cynthia, Violet and 
Vera. The first chooses wealth, the second beauty, while Vera desires 
the power to make others happy. Cynthia and Violet are led into 
trouble by their gifts and beseech the fairy to take them away, but 
Vera is the means of teaching them how they should profit by their 
good fortune. 

The Two Sisters. A bright little children's play in one aet for 4 
female characters. 



THE DRAMATIC PUBLISHING COMPANY'S CATALOGUE 

GONTENTS HALL'S ORIGINAL ROTATIONS. 

FOB SCHOOL AND HOME ENTERTAINMENTS. 

No. 1.— Dark Eyed Mehetabel. The House on the Hill. The Sewing Society. 
Death of Grandmother White. My Little Girl in Heaven. Grandpa's Old Brawn 
Cow. How We Tried to Lick the Teacher. Our Lost Pearls. Columbia Crum. 
Old Memories. Laborer and Priest. The Backwoods Baby. 

No. 2. — Solomon Ray. Kate Shelly. Cute Little Mary. Dave Driggs. Mr. 
and Mrs. Coker Chugg. A Winter Song. True Womanhood. About Widows. 
The Storm Spirits. Little Tim. The Debating Society. About Widowers. 

No. 3.— The King and the Child. "Boys, Our Way Lies There." Big Ben Bor- 
ton. The Ghost of Goshen. Going for the Cows. Brave Alta Wayne. Little 
Nan. The Old Settlers' Meeting. Bird Song. 

No. 4. — The Thunderstorm. Deacon Ezekiel Day. Ichabod Hawkins to the 
Jury. Christmas Eve. Burning of a Mississippi Steamboat. Eillen. Family 
Jars. Old Maids. The Bachelor Who Bothered Me. Twice Asleep. "Back- 
bone." True Friendship. 

No. 5.— The Old Clock in the Corner. We're Going Out West To-day. How 
Amos Proposed. Farmer Brown's Dream. The Story of "Little Moses." Farmer 
Brown on the Railroad Question. Alderman Woodhead's Watchdog. Evening 
Chimes. Thanksgiving Day at Sugar Hollow. 

No. 6.— The Switchman's Child. The Bride of Narragansett. Two Little Empty 
Stockings. The Engineer's Story. The Indiana Woods. The Puritan's Wife. The 
Fisherman's Story. The Western Pioneers. Girl in New Brown Hat. Funny 
Deacon Phinn. How to get Rid of an Old Widower. Fourth of July at Ripton. 

No. 7, RECITATIONS FOR LITTLE BOYS. 

The Farm Boy. Making the Best of It. The Western Schoolma'am. A Small 
Boy's Opinion of Girls. At Twenty-One. Pluck. Recitation for a Small Boy. A 
Terrible Time With the Bees. The Happy Old Bachelor. Seeking a Situation 
That Yellow Dog. Your First Sweetheart. Aunt Sarah. True Manhood. Jack, 
the Cow Boy of the Plains. My First Pipe. The Jolly Old Blacksmith, 

No. 8, RECITATIONS FOR LITTLE GIRLS. 

My Grandmother. Grandmother White's House. Only a Chicken. Two Maid- 
ens. Help Me Across. Grandma's Funeral. Theresa Trot. What a Girl Thinks 
of Boys. The Farmer's Wife. Little Maud. Mollie Maynard. Blanche. A 
Happy Young Girl. Seven Little Bells of Brandon. 

No. 9, SUNDAY SCHOOL RECITATIONS. 

"Sweet Bye and Bye." Alice's Dream. The Prodigal's Return. "Jesus, Lover 
of My Soul.', There's a Better Time Coming. Uncle Isaac's Ride for Life. In- 
vocation. The Nobility of Labor. James A. Garfield. Abraham Lincoln. Henry 
W. Longfellow. Another Year. The Home on the Hillside. Shall We Know 
Each Other There? A Memory of Home. Sunshine in the Soul. Bright are the 
Gates. Christmas. The Hand of Time. 

No. 10, FOR TEMPERANCE ENTERTAINMENTS. 

Intemperance. The Women's Crusade. Drifting Down the Stream. The Cus- 
tom of Treating. The Lost Steamer. The Terrible Ride of Peter McBride. 
Temperance Women. 'Tis a Stormy Night. The Shadow of a Crime. Margery. 
A Drunkard's Excuse. A Midwinter Night. The Golden Calf. The Drunkard's 
Daughter. Old Tobias. 

No. 11, HUMOROUS RECITATIONS FOR ELOCUTIONISTS. 

Tabitha Topp. Nothing But Silence. Pat Burns' Funeral. Biddy O'Rourke. 
Uncle Isaac's Match Speculation. My Neighbors' Dogs. Mrs. Hooker and the 
Rat. Shadows on the Curtain. Fritz's Courtship. A Row in the Vestry. A 
Terrible Situation. Handsome Girl in a Crowded Car. The Haunted Engineer. 
Jacob Beers. Dodt Vas Nodt Peesness. 

No. 13, DRAMATIC RECITATIONS FOR ELOCUTIONISTS. 

On the Shore. The Roman Sentinel. The Ride of Death. Marcel. Phatdre. 
Mad Scene from Mizra. Cleopatra to Antony. Magdalen. 



LIBRARY OF CONGRESS 

! III! Ill III!! tilt I 

016 215 072 8 < 



PLAYS. 



BEING the largest theatrical booksellers in 
the United States, we keep in stock the most 
complete and best assorted lines of plays and 
entertainment books to be found in this country. 

We can supply any play or book pub- 
lished. We have issued a 120-page catalogue 
of the best 1500 plays and entertainment books 
published in the U. S. and England. It con- 
tains a full description of each play, giving 
number of characters, time of playing, scenery, 
costumes, etc. This catalogue will be sent free 
on application. 

The plays described are suitable for am- 
ateurs and professionals, and nearly all of them 
may be performed free of royalty. Persons in- 
terested in dramatic books should examine our 
catalogue before ordering elsewhere. 

The Dramatic Publishing Company, 

CHICAGO. 



